dMITRI EhDETRKDVICh (1906-1975)
5KHZKR D POPE I D RRbDTNIKE YEGD hflLdE. DP. 36 (1933-34)
The Tale of the Priest and his Worker, Baida
Das Marchen vom Popen und seinem Knecht Baida
Le Conte du Pope et de son ouvrier Baida
Music to the cartoon film by Mikhail Tsekhanovsky,
after a story by Alexander Pushkin
Musik zu einem Zeichentrickfilm von Michail Zechanowski
nach einem Marchen von Alexander Puschkin
Musique pour un dessin anime de Mikhail Tsekhanovski
inspire d’un conte d’Alexandre Pouchkine
Libretto/Livret: Mikhail Tsekhanovsky
Score edited by Vadim Bibergan
Pervaya cast’
Part One • Erster Teil • Premiere partie
El 1 Uvertyura [1’23]
Overture • Ouverture • Ouverture
[1 2 Bazar (Vstupleniye) [1 ’52]
A Fair (Prelude) • Markt (Einleitung) • La foire (Introduction)
[1 3 Bazar (Prodolzeniye) [2’30]
A Fair (Continuation) • Markt (Fortsetzung) • La foire (Suite)
(Chorus)
0 4 Karusel’ I [1 ’25]
Carousel I • Karussell I • Manege I
2
[U 5 Mars BaldT [0’54]
Baida’s March • Baidas Marsch • Marche de Baida
m 6 Tanec zvonarya [2 ’16]
Bell-Ringer’s Dance • Tanz des Glockners • Danse du Carillonneur
[H 7 Karusel’ II [2’08]
Carousel II • Karussell II • Manege II
[E 8 Plyas medvedya [2 ’55]
The Bear’s Dance • Tanz des Baren • Danse de I ’Ours
[E 9 Pesenka Baldi [1 ’35]
Baida’s Song • Baidas Lied • Chanson de Baida
(Baida, Priest)
H lOVstreca Baldi s Popom [1’32]
The Meeting of Baida and the Priest • Baida trifft auf den Popen
Rencontre de Baida avec le Pope
(Narrator)
E] 11 Dialog BaldT s Popom [1’15]
Dialogue of Baida and the Priest • Baidas Dialog mit dem Popen
Dialogue de Baida et du Pope
(Priest, Baida, Chorus)
m 12 Final pervoy casti [1’32]
Finale of Part One • Finale des ersten Teils • Final de la premiere partie
(Chorus)
3
Vtoraya cast’
Part Two • Zweiter Teil • Deuxieme partie
H 13 Derevnya (Vstupleniye) [2’00]
A Village (Prelude) • Dorf (Einleitung) • Le village (Introduction)
(Chorus)
El 14 Pervaya rabota BaldT [1’32]
Baida’s First Job • Baidas erste Arbeit • Premier travail de Baida
m 15 Pop-mitropolit (Cayepitiye) [1’13]
The Metropolitan Priest (Tea-Drinking) • Pope-Metropolit (Tee trinkend)
Le Pope metropolitain (Prenant le the)
(Chorus)
OH 16 Uvertyura k vecerinke [1’53]
Overture to the Evening Party • Ouverture zum geselligen Abend
Ouverture de la soiree
Ozl 17 KolTbel’naya [4’25]
Lullaby • Wiegenlied • Berceuse
(Baida, Priest’s Daughter, Priest’s Wife)
01 18 Son PopovnT [2’06]
The Priest’s Daughter’s Dream • Traum der Popentochter
Le reve de la Fille du Pope
H 19Val’s [3’12]
Waltz • Walzer • Valse
M 20 Vtoraya rabota BaldT [0’54]
Baida’s Second Job • Baidas zweite Arbeit • Second travail de Baida
El 21 Tanec Popa s Cortom [1 ’06]
The Priest’s Dance with the Devil • Tanz des Popen mit dem Teufel
Danse du Pope avec le Diable
4
^ 22 Tanec mertvecov [2’34]
Dance of the Corpses • Tanz der Toten • Danse des morts
^ 23 Sestviye mrakobesov [1 ’05]
Procession of Obscurantists • Prozession der Obskuranten
Defile des obscurantistes
M 24 Dialog BaldT so StarTm Besom [1 ’34]
Dialogue of Baida and the Old Devil • Baidas Dialog mit dem Men Teufel
Dialogue de Baida avec le Vieux Demon
(Narrator, Devil, Baida)
H 25 PervTy dialog Baldi s Besyonkom [3’34]
First Dialogue of Baida and the Imp • Baidas erster Dialog mit dem Teufelchen
Premier dialogue de Baida avec le Diablotin
(Narrator, Imp, Chorus, Baida)
^ 26 Kuplefi Corta [1’18]
The Devil’s Couplets • Couplets des Teufels • Les couplets du Diable
13 27 Vtoroy dialog BaldT s Besyonkom [1’49]
Second Dialogue of Baida and the Imp
Baidas zweiter Dialog mit dem Teufelchen
Deuxieme dialogue de Baida avec le Diablotin
(Imp, Baida, Narrator)
M 28 Tri sceicka [1 ’56]
The Three Knocks • Drei Schnipse • Les trois chiquenaudes
m 29 Galop BaldT [1’25]
Baida’s Gallop • Baidas Galopp • Le galop de Baida
Baida (bass) Dmitri Beloselsky
Diktor Narrator • Sprecher • Recitant (boy, child’s voice) Andrei Suchkov
Besyonok Imp • Teufelchen • Le Diablotin (discant) Fyodor Bakanov
Pop Priest • Pope (bass) Dmitri Stepanovich
Pop Priest • Pope (tenor) Sergei Balashov
Popovna Priest’s Daughter • Popentochter Evgeniya Sorokina
La Fille du Pope (soprano)
Popad’ya Priest’s Wife • Popenfrau Herman Yukavsky
La Femme du Pope (bass)
Bes Devi • Teufel • Demon (bass) Dmitri Ulyanov
Bes Devil • Teufel • Demon (mezzo-soprano) Irina Narskaya
ThE MD5CDW 5TRTE ChRHbER ChDiR
Chorus Master & Preparation of the children: Alexander Solovyov
5YUITR IZ DPERfLEdl MRKbET HGEN5KD0D UYEZdR. DP. 29R (1932)
Symphonic Suite from the Opera Lady Macbeth of the Mtsensk District
S 1. Allegro con brio [2’06]
m 2. Presto [2’41]
H 3. Allegretto [1 ’54]
RU55IHN PhlLhRRMDNlC DRChESTRR
Leader: Vladimir Apekishev
ThDMRE ERNdERLING
6
EhDETHKDVICh
bRLdR • LRdY MflCbETh SUITE
bY MRNRBhIR YRKUbDV
This programme is a revelation of the
unexpected Shostakovich - a kind of
familiar stranger. The works recorded
here for the first time represent contrast-
ing essences of his creative world: the
cheerful, farcical-tomfoolery atmosphere
of the Russian folk-tale {Baida) and the
unbearable tragedy of Russian reality
{Lady Macbeth).
The film scenario to The Tale of the
Priest and his Worker, Baida was writ-
ten by the director Mikhail Tsekhanov-
sky, after Pushkin’s folk-tale, known to
every child in Russia. A priest hires Bai-
da as his worker, for the price of “three
knocks on the forehead”; but then, in or-
der to escape from the deal with Baida,
he begins to give him unperformable
duties. Baida, however, carries out all
these duties, and the moment of pay-
ment arrives for the miserly boss. “The
poor priest exposed his forehead. With
the first knock the priest shot up to the
ceiling; with the second the priest was
speechless, and with the third the old
man had his senses knocked out of him.
But Baida kept repeating, reproachfully:
‘So, priest, you wanted a good price...’”
Tsekhanovsky, who in 1931 had made
the famous avant-garde animated film
Pacific (a paradoxical title!) to the score
of Arthur Honegger’s Pacific 231, decid-
ed to create a new work in the style of
Russian folk tableaux, on the same prin-
ciple: “first the music, then the film”. At
the beginning of 1933 he got in touch
with the composer.
At that time the young Shostakovich
was not only the writer of symphonies,
operas and ballets but also a highly ex-
perienced master in the area of film mu-
sic. He considered that music in the cine-
ma “may and should be faced with the
same level of demands as the scenario.
the actors’ performances, and the di-
rection. But in such a film the music
must then be accorded parity of es-
teem.” He was immediately fascinated
by Tsekhanovsky’s concept: “The
screenplay ... has succeeded in re-
taining satirical sharpness and the en-
tire palette of Pushkin’s ... work of ge-
nius tale. ... The film is sustained at
the level of a folk-farce. In it there is a
mass of sharp, hyperbolic situations
and grotesque characters ... The tale
sparkles with fervour, lightness and
cheerfulness. And to compose music
for it was likewise an easy and cheerful
task.”
Tsekhanovsky’s diary entry records vivid
details of the collaboration: “Shosta-
kovich played excerpts from Baida: the
dialogue of Baida with the Devils. He
played powerfully and precisely. It was
as though his fingers were extracting
precious stones from the instrument ...
He likes my ‘scenario’, and he went
about his work like an inspired, first-rate
artist.” Shostakovich was also satisfied
with his music for Pushkin’s tale. Never
before or since did he come into such
close and immediate proximity to the
Russian folk-tale element, to folk intona-
tions and rhythmics; and this encounter
lent his work a special freshness, energy
and splendour.
“The content of the tale itself and the
artist’s concept defined the character
both of the musical language - in the
manner of a folk-fairground and a merry-
go-round - and of the entire film”, the
composer recalled. “Perhaps after The
Tale of the Priest is shown on screen, I
will again hear reproaches from certain
music critics at my superficiality and
mischief, at the absence of the real hu-
man emotions that ‘at long last’ materi-
alized in my Lady Macbeth. But what
should we consider as human emotion?
Do only lyricism, grief and tragedy
count? Surely laughter also has a right
to this honorable title?”
Having worked on it for nearly four
years, Tsekhanovsky unfortunately was
unable to complete his innovative film.
Only the scene of the “Market” remained
as a well-known classic of animated
cinema, plus the magnificent music of
Shostakovich, which 70 years after its
creation is available to the listener on
this disc for the first time in its full and
authentic form. It was on the initiative of
the composer’s widow, Irina Antonovna,
that the score of The Tale of the Priest
was completed, a task carried out by
one of Shostakovich’s pupils, Vadim
Bibergan.
The Symphonic Suite from the opera
Lady Macbeth of the Mtsensk District
presents the sharpest, most staggering
contrast to the score of The Tale of the
Priest. It does not appear in a single list
of Shostakovich’s works (the author of
these lines was fortunate enough to
discover the score in the process of
preparing the New Collected Works of
Shostakovich). The Suite is dated 1 932
and was assembled immediately after
the completion of the opera.
At the turn of the 1920s/30s Shosta-
kovich repeatedly emphasized the great
significance of the symphonic principle
in his musical-theatrical works. “I con-
sider it essential”, he wrote in 1931, for
instance, “to dramatize the musical
essence, to give the music a genuine
symphonic tension and dramatic direc-
tion.” In firmly insisting on the through-
composed, symphonic quality of Lady
Macbeth's musical dramaturgy, he par-
ticularly highlighted the orchestral inter-
ludes: “The musical flow is uninterrupt-
ed,” he wrote, “only breaking off at the
conclusion of each act; and it is re-
newed in the next act, going not in small
segments but unfolding on the large,
symphonic plane. ...The musical inter-
ludes are the continuation and evolution
of the preceding musical thought, and
they play a very large role in the task of
characterizing the events on stage. ... In
connection with this arises the massive
role of the orchestra, which does not ac-
company but plays a role no less impor-
tant, perhaps even more important, than
the soloists and chorus.”
The Suite op. 29a consists of three in-
terludes: between the second and third,
seventh and eighth, and sixth and sev-
enth scenes (the last two interludes of
the opera are swapped round); however.
in the Suite the movements do not have
titles. The dramatic fate of the opera as
a whole - which had initially travelled
the world in triumph but then was sup-
pressed and for a quarter of a century
removed from musical life - evidently
settled that of the Suite. Its recording is
here realized for the first time.
Translation from the Russian: David Fanning
Manashir Yakubov is President of the Russian Dmitri Shostakovich Society and Chief Editor of the
DSCH Publishing House which is bringing out the New Collected Works of Shostakovich.
10
SKAZKA O POPE
THE TALE OF THE PRIEST
1 0 RABOTNIKEYEGO BALDE
AND HIS WORKER, BALDA
PERVAYA CAST
PARTI
m
1 Uvertyura
1 Overture
2 Bazar (Vstupleniye)
2 A Fair (Prelude)
(Obscaya kartina bazara.
(General view of the fair.
Laryok s igruskami.
A toy stall.
Laryok s pticami.
A bird stall.
Kricat torgovcl
Merchants shout
Pokupateli torguyutsya.
Customers bargain.
Mi'cit korova.
A cow moos.
Paren’ poyot.)
A lad sings.)
[1
3 Bazar (Prodolzeniye)
3 A Fair (Continuation)
KHOR:
CHORUS:
KURI, UTKI, GUSI
HENS, DUCKS, GEESE
(imitaciya)
(imitation)
Ko-ko-ko-ko...
Ko-ko-ko-ko ...
Krya, krya...
krya, krya ...
Ga-ga, ga-ga...
ga-ga, ga-ga ...
TORGOVEC PIROGAMI
PIE VENDOR
Goryaciye pirogi!
Hot pies!
Segodnya ne dorogi!
Cheap today!
KURI, UTKI, GUSI
(imitaciya)
Ko-ko-ko-ko...
Krya, krya...
Ga-ga, ga-ga...
HENS, DUCKS, GEESE
(imitation)
Ko-ko-ko-ko ...
krya, krya ...
ga-ga, ga-ga ...
TORGOVKA KRESTAMI
KrestT zoloconTye!
TORGOVEC MOCONIMI YABLOKAMI
Yabloki moconiye!
TORGOVKA KRESTAMI
Gospod’ Bog Savaof!
(V'fkat'ivayetsya boconok.)
KURI, GUSI
Ko-ko-ko-ko...
Ga-ga, ga-ga...
(Viyezzayet telega. Na duge kolokol’ciki.
Garmoska.)
TORGOVEC OGURCAMI
Boconok ogurcov!
TORGOVEC KVASOM (MAL’ClK)
Kvasu, komu kvasu!...
POROSYONOK
(imitaciya)
I-. i-
TORGOVEC MYASOM
Myasa, komu myasa!
TORGOVEC rTbOY
Yorsi, okuni, karasi!
(Vftalkivayut p’yanogo iz traktira.
Stuk tela, upavsego na zemlyu.
WOMAN SELLING CROSSES
Gilt crosses!
SOUSED APPLE VENDOR
Soused apples!
WOMAN SELLING CROSSES
Lord God Sabaoth!
(A keg Is wheeled out)
HENS, GEESE
Ko-ko-ko-ko ...
ga-ga, ga-ga ...
(A cart comes out, with little bells on the
shaft-bow. An accordion plays.)
CUCUMBER VENDOR
A keg of cucumbers!
KVASS VENDOR (BOY)
Kvass, who’s for kvass?
PIGLET
(imitation)
Ee — , ee —
MEAT VENDOR
Meat, who’s for meat?
FISH VENDOR
Ruff, perch, carp!
(A drunk is thrown out of a tavern.
His body is heard falling to the ground.
12
Sumatokha, svistok. Udar v okno.
Hustle and bustle, whistling. A window is
Tresk razbitogo stekla.)
struck.The sound of breaking glass.)
KHOR
Ay -
Kha, kha, kha...
CHORUS
Ay-
ha, ha, ha ...
PERVlY,VTOROY,TRETIY KUPEC
Tol’ko u nas:
zaydyos’ na minutku,
uydyos’ cerez cas!
FIRST, SECOND, THIRD MERCHANTS
Only here:
look in for a minute,
and you’ll want to stay for an hour!
TORGOVECVENEROY
Kak muzu zena,
kazdomu nuzna!
Venera bez rubaski,
(Udari po golomu telu.)
tolstiye lyazki,
grud’ otkrita.
MERCHANT SELLING VENUS FIGURINES
Like a man needs a wife,
everyone needs one!
Naked Venus figurines,
(Strokes on the naked body.)
plump haunches,
brazen breasts.
KHOR
Kha, kha, kha...
Ay—!
CHORUS
Ha, ha, ha ...
ay — !
PAREN’
Kha, kha, kha...
A LAD
Ha, ha, ha ...
TORGOVEC MITROPOLITOM
A vot prodam mitropolita!
VENDOR OF METROPOLITANS
And I’m selling a metropolitan!
KHOR
Kha, kha, kha...
CHORUS
Ha, ha, ha ...
TORGOVEC MITROPOLITA
Mitropolit svyatoy,
s borodoy zavitoy.
VENDOR OF METROPOLITANS
A holy metropolitan,
with a curly beard.
(Bleyut ovci'.)
(Sheep bleat.)
TORGOVEC IGRUSKAMI
Rebyata i staruski,
pokupayte igruski!
Medved’ vorcit.
TOY VENDOR
Lads and old folk,
buy my toys!
A bear is growling.
(Ri'cit medved’.)
(The bear snarls.)
barTnya piscit!
and a lady is squeaking!
barTnya
0 kel’ksoz!
LADY
0, quelque chose!
TORGOVEC IGRUSKAMI
General rugayetsya!
TOY VENDOR
The general is cursing!
GENERAL
Akh, mat’ tvoyu!
GENERAL
Damn you!
TORGOVEC IGRUSKAMI
Soldat srazayetsya!
TOY VENDOR
A soldier joins battle!
(Vistreli.)
(Shots are heard.)
TORGOVKA KOTOM
A vot, a vot,
komu nuzen kot!
WOMAN SELLING A CAT
Now then, now then,
who needs a cat!
KOT
(imitaciya)
Myau, myau, myau.
CAT
(imitation)
Miaow, miaow, miaow.
14
TORGOVKA KOTOM
Lovit misey, klopov,
tarakanov, vsey!
0 4 Karusel’ I
[U 5 Mars BaldV
[D 6Tanec zvonarya
0 7 Karusel’ II
(Podosol Pop.)
[U 8 Plyas medvedya
(Podchodit Pop.)
d] 9 Pesenka Baldi
BALDA
Bogat moy Pop,
tolokonniy lob.
Dorn, sad, ogorod -
polyubuysya, narod!
Kuri, utki, indyuki,
i korovT i biki!
POP
Adrianu i Stepanu,
Akuline govoryu.
Mar’ye, Dar’ye, Martem’yanu
i Anfise govoryu.
Ne tuzi, bednyak, o tom,
cto sosed tebya bogace!
WOMAN SELLING A CAT
It catches mice, bedbugs,
cockroaches and lice!
4 Carousel I
5 Baida’s March
6 Bell-Ringer’s Dance
7 Carousel II
(The Priest has approached.)
8 The Bear’s Dance
(The Priest approaches.)
9 Baida’s Song
BALDA
My wealthy Priest,
blockhead.
House, garden, vegetable patch -
just look, people!
Hens, ducks, turkeys,
and cows and bulls!
PRIEST
Adrian and Stephen,
Akulina, I address you.
Maria, Daria, Martemyan
and Anfisa, I address you.
Do not grieve, poor people,
that your neighbour is richer than you!
c
«
15
Budes’ ti V rayu potom,
tarn ot radosti zaplaces’.
BALDA
Ay, Pop!
Scolknu V lob, propadyos’!
Scolknu V lob, propadyos’!
Ay, Pop!
HI 10 Vstreca BaldY s Popom
DIKTOR
Posol Pop po bazaru posmotret’
koye-kakogo tovaru.
Navstrecu yemu Baida idyot, sam ne
znaya kuda.
(Muzik nesyot porosyonka.
Muzik igrayet na garmonike.
Vstreca Popa s Baldoy.)
Gl] 11 Dialog BalcTi' s Popom
POP
Nuzen mne rabotnik:
povar, konyukh i plotnik.
A gde nayti mne takogo sluzitelya
ne sliskom dorogogo?
BALDA
Budu sluzit’ tebe slavno,
userdno i ocen’ ispravno.
One day you will be in paradise,
and there you will weep tears of joy.
BALDA
Ah, Priest!
A knock on your forehead and you’re done
for!
A knock on your forehead and you’re done
for!
Ah, Priest!
10 The Meeting of Baida and the Priest
NARRATOR
The Priest has come to the fair to look at
some of the merchandise.
Baida walks towards him, not knowing
where he is going.
(A man carrying a pigiet.
A man playing the accordion.
The Priest meets Baida.)
11 Dialogue of Baida and the Priest
PRIEST
I need a worker:
a cook, groom and carpenter.
But where will I find such a servant,
one that’s not too expensive?
BALDA
I will serve you faithfully,
diligently and very meticulously,
16
V god za tri sceicka tebe po Ibu.
Vest’ ze davay mne varyonuyu polbu.
KHOR
(sopotom)
Za tri sceicka, za tri sceicka, za tri sceicka.
Prizadumalsya Pop,
stal pocosivat’ lob.
Scelcok sceicku rozn’,
da ponadeyalsya na russkoye avos’.
ID 12 Final pervoy casti
TORGOVKA KRESTAMI
KrestT zoloconiye!
TORGOVEC PECONIMIYABLOKAMI
Yabloki peconYye!
KHOR
Nanyal Pop dyosevo
rabotnika khorosego!
TORGOVEC KVASOM (MAL’ClK)
Kvasu, komu kvasu?
TORGOVEC MYASOM
Myasa, komu myasa?
KHOR
Tri sceicka, tri sceicka,
cena ne vysoka!
for a whole year, for the price of three
knocks on your forehead.
And to eat give me boiled wheat.
CHORUS
(in a whisper)
For three knocks, for three knocks, for three
knocks.
The Priest thought it over,
began to scratch his forehead.
No two knocks are the same,
and maybe he counted on the Russian
off-chance.
12 Finale of Part I
WOMAN SELLING CROSSES
Gilt crosses!
BAKED APPLE VENDOR
Baked apples!
CHORUS
The Priest has hired
a good worker on the cheap!
KVASS VENDOR (BOY)
Kvass, who’s for kvass?
MEAT VENDOR
Meat, who’s for meat?
CHORUS
Three knocks, three knocks,
that’s not a high price!
17
TORGOVKA KRESTAMI
Gospod’ Bog Savaof!
TORGOVEC OGURCAMI
Boconok ogurcov!
KHOR
Ey, Pop, poglyadi na kulaki,
ot Baldi nesladki sceicki!
Ey, Pop! Ey, Pop! Ey, Pop!
Beregi lob! Beregi lob!
VTORAYA CAST’
m 13 Derevnya (Vstupleniye)
(idyot Pop.
Bezit petukh, za nim devka.
Idyot Pop.
Baba doit korovu.
Idyot Pop.
Muzik kolet drova.
Idyot Pop.
V gryazi uvyazia telega.
Idoyt Pop.
Cerkovnaya sluzba.)
KHOR
Gospodi, pomiluy, Gospodi pomiluy,
Gospodi, pomiluy.
WOMAN SELLING CROSSES
Lord God Sabaoth!
CUCUMBER VENDOR
A keg of cucumbers!
CHORUS
Hey, Priest, watch out for the fists,
the knocks from Baida aren’t sweet!
Hey, Priest! Hey, Priest! Hey, Priest!
Look after your forehead! Look after your
forehead!
PART II
13 A Village (Prelude)
(The Priest is walking.
A cockerel is running around, followed by a
girl.
The Priest is walking.
A woman milks a cow.
The Priest is walking.
A man chops wood.
The Priest is walking.
A cart is stuck in the mud.
The Priest is walking.
Church service.)
CHORUS
Lord have mercy. Lord have mercy.
Lord have mercy.
(Mars Pops i vsekh personazey.
Telega.
KolokoTn'fy perezvon.)
KHOR
Gospodi, pomiluy, Gospodi, pomiluy,
Gospodi!
14 Pervaya rabota BaldY
15 Pop-mitropolit (Cayepitiye)
(Pop-mitropolit tancuyet.)
KHOR: ANGELI
Stale na serdee Popa veseleye,
nacal on glyadet’ na Baidu posmeleye.
($agi Bald'f.)
16 Uvertyura k vecerinke
17 KolVbernaya
BALDA
Spi, spi, spi, Popyonok,
tT pokuda mal i tonok,
a potom, a potom
stanes’ tolstim popom.
POPOVNA
Spi, spi, Popyonocek,
belen’kiy telyonocek.
Ya ne yem, ne p’yu, ne splyu,
potomu cto ya iyublyu.
(March of the Priest and all the characters.
A cart.
Bells peal.)
CHORUS
Lord have mercy. Lord have mercy.
Lord!
14 Baida’s First Job
15 The Metropolitan Priest (Tea-Drinking)
(The Metropolitan Priest dances.)
CHORUS; ANGELS
The Priest has started to cheer up,
he begins to look at Baida more boldly.
(Baida’s footsteps.)
16 Overture to the Evening Party
17 Lullaby
BALDA
Sleep, sleep, sleep, my little Priest;
at the moment you are small and thin,
but later, but later
you will be a fat Priest.
THE PRIEST’S DAUGHTER
Sleep, sleep, my sweet little Priest,
my little white calf.
I cannot eat, cannot drink, cannot sleep,
because I am in love.
Pticka moya, ptasecka,
dorogoy Baldasecka,
goluboy motilyok,
polevoy vasilyok.
My little bird, little birdie,
dear sweet little Baida,
little blue butterfly,
field cornflower.
POPOVNA i BALDA
Spi, spi, spi, Popyonok,
ti pokuda mal i tonok,
a potom, a potom
stanes’ tolstim popom.
THE PRIEST’S DAUGHTER and BALDA
Sleep, sleep, sleep, my little Priest;
at the moment you are small and thin,
but later, but later
you will be a fat Priest.
POPAD’YA
Uz Pop stal star,
u Popa boroda,
tT V grudi zazog pozar,
dorogoy moy Baida.
Ti, Baida, khoros,
tT, Baida, prigoz,
tT V grudi zazog pozar,
dorogoy moy Baida.
THE PRIEST’S WIFE
Now the Priest has grown old;
the Priest has a beard;
you have lit a fire in my breast,
my dear Baida.
Baida, you are kind,
Baida, you are comely;
you have lit a fire in my breast,
my dear Baida.
POPOVNA, POPAD’YA i BALDA
Spi, spi, spi, Popyonok,
spi, spi, spi, Popyonocek.
PRIEST’S DAUGHTER, PRIEST’S WIFE and
BALDA
Sleep, sleep, sleep, my little Priest;
sleep, sleep, sleep, my sweet little Priest.
POPOVNA
A potom, a potom
stanes’ tolstim popom.
THE PRIEST’S DAUGHTER
But later, but later
you will be a fat Priest.
OH 18 Son Popovni
18 The Priest’s Daughter’s Dream
01 19Val’s
19 Waltz
20
S 20 Vtoraya rabota BaldY
13 21 Tanec Popa s Cortom
H 22 Tanec mertvecov
M 23 Sestviye mrakobesov
@ 24 Dialog BaldY so StarYm Besom
DIKTOR
Vot iz morya vylez starTy Bes.
BES
Zacem ti, Baida, k nam prilez?
BALDA
Da vot veryovkoy khocu more morscit’,
da vas, proklyatoye plemya, korcit’.
DIKTOR
Besa starogo vzyala tut uni lost’.
BES
Skazi, za cto takaya nemilost’?
BALDA
Kak za cto? Vi ne plotite obroka,
ne pomnite polozennogo sroka.
Vot uzo budet nam potekha,
vam, sobakam, velikaya pomekha.
20 Baida’s Second Job
21 The Priest’s Dance with the Devil
22 Dance of the Corpses
23 Procession of Obscurantists
24 Dialogue of Baida and the Old Devil
NARRATOR
Lo, from the sea an Old Devil crawls out.
DEVIL
Why have you crawled up here, Baida?
BALDA
Well, with this rope I wanted to churn up
the sea,
and to summon you, accursed tribe.
NARRATOR
At this the Old Devil was seized by
despondency.
DEVIL
Tell me, why such un^tkindness?
BALDA
What do you mean, why? You have not
paid the rent,
you have not remembered the agreed date.
Now just you wait, we’re going to have some fun,
it’s going to be a great nuisance for you, you
dogs.
21
BES
(Soprano e basso)
Balduska, pogodi ti morscit’ more,
obrok ti polucis’ vskore.
Pogodi, vyslyu tebe vnuka.
H 25 Perviy dialog Balcfi' s Besyonkom
DIKTOR
Vi'nTrnul podoslanniy Bbesyonok,
zamyaukal, kak golodnYy kotyonok.
BESYONOK
Zdravstvuy, Baida muzicok;
kakoy tebe nuzen obrok?
Ob obroke vek mi ne sITkhali,
ne bilo certyam takoy pecali.
KHOR
Ob obroke vek mi ne slikhali,
ne bilo certyam takoy pecali.
BESYONOK
Nu, tak i bit’ - voz’mi, da s ugovoru,
s obscego nasego peregovoru, -
KHOR
... s obscego nasego peregovoru.
DEVIL
(soprano and bass)
My dear Baida, wait, don’t churn up the sea.
You’ll get your rent soon.
Wait, I’ll send out my grandson.
25 First Dialogue of Baida and the Imp
NARRATOR
The despatched Imp comes to the surface,
he miaows like a hungry pussy cat.
IMP
Hello, Baida, little fellow;
what use is the rent to you?
We haven’t heard about rent for ages,
that’s all we needed.
CHORUS
We haven’t heard about rent for ages,
that’s all we needed.
IMP
Well, so be it - take it, from our agreement,
from our mutual negotiations —
CHORUS
... from our mutual negotiations.
22
BESYONOK
Ctobi vpred’ ne bTIo nikomu gorya;
kto skorey obezit vokrug morya,
tot i beri sebe poInTy obrok.
IMP
So that henceforth no one will have any grief:
whoever can run quicker around the sea
shall keep for himself the full rent.
KHOR
... tot i beri sebe polniy obrok.
CHORUS
... shall keep for himself the full rent.
BALDA
Cto ti vTdumal, pravo?
Gde tebe tyagat’sya so mnoyu,
s samim Baldoyu?
Ekogo prislali supostata!
Pogodi-ka moyego men’sogo brata.
BALDA
Really, what have you dreamt up?
How will you compete with me,
with the one and only Baida?
What kind of adversary have they sent!
Just wait for my little brother.
DIKTOR
Posol Baida v blizaysiy lesok,
poymal dvukh zaykov, i v mesok.
NARRATOR
Baida went into a nearby grove,
caught two hares, and put them in his sack.
(Derzit Baida za usko odnogo zayku.)
(Baida holds one hare behind the ear.)
BALDA
Poplyasi ti pod nasu balalayku;
ti, Besyonok, yesco molodyonok,
so mnoy tyagat’sya slabyonok;
eto bTIo bi lis’ vremeni trata.
Obgoni-ka moyego men’sogo brata.
Raz, dva, tri. Dogonyay-ka.
BALDA
Dance to our balalaika;
you. Imp, still only young;
you’re a weakling to compete with me;
it would just be a waste of time.
Just try out-running my little brother.
One, two, three. Catch me if you can.
23
Bratec moy lyubimiy,
ustal, bednyazka!
Otdokhni, rodimiy.
BESYONOK
Beda, beda, beda!
Obognal menya men’soy Baida!
H 26 Kupleti Corta
27 Vtoroy dialog BaldY s Besyonkom
BESYONOK
Cego ti khlopoces’?
Budet tebe obrok, koli zakhoces’...
BALDA
Taper’ moya cereda,
usioviye sam naznacu,
zadam tebe, vrazonku, zadacu.
Posmotrim, kakova u tebya sila.
Vidis’, tarn sivaya kobila?
KobTlu podnimi-ka ti,
da nesi yeyo polverstT.
Snesyos’ kobilu, obrok uz tvoy,
ne snesyos’ kobiTi, on budet moy.
DIKTOR
BednTy Bes pod kobilu podlez.
My dear brother,
you are tired, poor thing.
Take a rest, my dear.
IMP
Woe, woe, woe!
The little Baida has overtaken me!
26 The Devil’s Couplets
27 Second Dialogue of Baida and the Imp
IMP
What are you bustling about for?
You will get your rent, as much as you want ...
BALDA
Now it’s my turn,
and I’ll set the conditions;
I’m going to set you a task, my little enemy.
Let’s see how much power you have.
Do you see that grey mare?
Just pick up that mare,
and carry her for half a mile.
If you can carry off the mare, then the rent
will be yours;
if you can’t carry her off, then it’s mine.
NARRATOR
The poor Devil bent down beneath the mare.
BESYONOK
(vzdokh)
Okh, okh...
(tri saga)
BALDA
(khokhocet)
kha, kha, kha...
m 28Triscelcka
§ 29 Galop BaldY
www.iclassics.com
www.deutschegrammophon.com/shostakovich-l
IMP
(sighs)
Oh, oh ...
(three footsteps)
BALDA
(giggling)
Ha, ha, ha ...
28 The Three Knocks
29 Baida’s Galop
(Translation: David Fanning)
World-Premiere Recordings
Recording: Moscow, Russian State TV & Radio Company Kultura, Studio 5,
5/2005 (Lady Macbeth); 5-6/2005 (Baida)
Producer: Sid McLauchlan • Recording Producer: Lyubov Doronina
Balance Engineers: Alexander Karasev, Gennadi Trabantov • Editing: Pavel Lavrenenkov
Production Assistants: Svetlana Novitskaya, Elena Levashkevich, Olga Misailova,
Natalya Stepina, Larissa Kuzmina
Publisher: DSCH Publisher, Moscow
© 2006 Deutsche Grammophon GmbH, Hamburg
© 2006 Deutsche Grammophon GmbH, Hamburg
Project Manager: Valerie Gross • Booklet Editor: Annette Nubbemeyer
Cover Photo: © AKG • Artist Photo: © Fritz Curzon (Sanderling)
Design: Dirk Rudolph • Art Direction: Fred Munzmaier
Manufactured and Marketed by Universal Music Classics Group,
a Division of UMG Recordings, Inc. 825 Eighth Avenue, New York, NY 10019.
TD CELEbRHTE THE lOOTh RKNIVEREHRY DF EhDETHKDVICh'E blRTh,
FOUR EXCITING NEW RELEHEEE FROM dEUTEChE GRHMMDPhDN
CD 00289 477 6146
DVD B0006578-09
CD 00289 477 61 1 1
CD 00289 477 6112
www.iclassics.com • www.deutschegrammophon.com/shostakovich-balda
[61'34] • ® 2006 Deutsche Grammophon GmbH, Hamburg ■ a universal music company • Design: Dirk Rud
Manufactured and Marketed by Universal Music Classics Group, 825 Eighth Avenue, New York, NY 10019.
Distributed by Universal Music Distribution.
B0006507-02 M FBI Anti-Piracy Warning: unauthorized copying is punishable under federal law.
(1906-1975)
The Tale of the Priest and his Worker, Baida, op. 36
Music to the cartoon film by Mikhail Tsekhanovsky, after a story by Alexander Pi
Score edited by Vadim Bibergan
Baida Dmitri Beloselsky • Imp Fyodor Bakanov • Priest Sergei Balashov
Devil Dmitri Ulyanov
The Moscow State Chamber Choir
M Symphonic Suite from the Opera "Lady Macbeth of the Mtsensk Di
op. 29a
Russian Philharmonic Orchestra
THOMAS SANDERLING
World-Premiere Recordings
Even for the Shostakovich centenary there are still revelations - here are two wc
recordings that present contrasting sides of this great Russian composer. First a
dy in his composition for "Baida", an unrealized film-score based on Pushkin's fare
then brooding tragedy with a suite from his operatic masterpiece, "Lady Macbeth
ThE TALE DFThE PRIEST
RNd hIS WORKER. bHLdfl
SUITE FROM
"LfldY MflChETh"
RUSSIAN PhlLhRRMONIG
ORChESTRA
ThDMHE SHNdEnUNG
Manufactured and Marketed by Universal Music
Classics Group, 825 Eighth Avenue, New York,
NY 10019. Distributed by Universal Music
Distribution. FBI Anti-Piracy Warning: unautho-
rized copying is punishable under federal law.
© 200G Deutsche Grammophon Gmbh, Hamburg
A Universal Music Company ■ BIEM/SABAM
dMITRI
BhDETHKDVICh
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